Stars (Vocally) Chris Pine, Alec Baldwin, Jude Law, Isla FIsher, Dakota Goyo and Hugh Jackman Directed by Peter Ramsey Was this ever going to be an easy sell? You've got very iconic Western based holiday icons that may or may not be recognised anywhere else appearing in the movie. Okay, so maybe kids around the world would recognise Santa Claus, although, probably not like this. It's a very unique design choice to veer away from the typical jolly big guy (probably still owned by the Coca-Cola Company). In fact, he's not called Santa Claus at all but simply referred to as "North" In the original series of books, "The Guardians of Childhood", he's called Nicholas St.North. The other children might call him Santa, but it doesn't really matter here. The same applies to the other major characters, Bunny (or the Easter Bunny, or E. Aster Bunnymund in the books) and Tooth (the Tooth Fairy or Toothiana). Only The Sandman retains his name and general appearance from the books. Tooth has pretty much the same colour scheme, but the design for the movie is absolutely gorgeous. Our way into this world is through the eyes of Jack Frost (Chris Pine) as he comes into being right at the start. He doesn't know quite who he is or what his purpose is, but there is an exuberant joy in his being that he wants to share with others… if only they could see him. When an ancient evil threatens the world, Jack is recruited by the Guardians, North (Alec Bladwin), Bunny (Hugh Jackman), Tooth (Isla Fisher) and The Sandman (a mute character), to join them in the battle against Pitch (Jude Law) a.k.a. The Boogeyman (or The NIghtmare King in the books). For Jack, it turns out he might have more in common with Pitch than he has with the other Guardians. The core of the story is very much Jack's 'hero's journey' as he tries to find his place in the world. The beats are all there and Pine does a great job in voicing the character, taking in the range of emotions the character goes through as he makes the various discoveries along the way. The rest of the cast do fairly well. Hugh Jackman playing up his natural accent and getting some of the funnier lines. Isla FIsher is a joy as Tooth, taking on a flighty rendition much like the character. Jude Law is menacing as can be as Pitch while Alec Baldwin takes on a booming, if somewhat paternal, Russian accent as North. This is in line with the origins of the character in the books, although how well it is received by audiences is a whole other thing. Despite being mute, Sandy - The Sandman - pretty much steals every scene he's in. The design and animation of his abilities are beautiful and wondrous on screen, playing into the 3D effectively well. The texture of the sand practically pops, showcasing some impressive technology at work there. The colours and photography, advised by cinematographer extraordinaire, Roger Deakins, give the movie a magical aura, even when it gets dark in some scenes. The design works also extends to the amazing colours of Tooth and her little helpers. The feathers are incredibly detailed as are elements in the world created within the movie. From North's workshop with the hapless elves and hardworking Yetis, to Bunny's tunnels and base, Tooth's world above the clouds and even the 'real world' of the children who are so important to the story. The pace of the action is fast, furious and sometimes frenetic, which my be trying too hard to impress what is capable of the technology. As much as I love the character designs, the production design, the colours, the cinematography, the amazing music by Alexandre Desplat, the effects, the action and even the 3D, it comes down to the story that is presented. Jack's search for his identity, a place where he belongs and just one person to believe in him, very much at the core of every child and the child inside each one of us. It is a very established world we're being thrown into, but there in lies the wonder and the magic. It does reward multiple viewing, and while Guillermo del Toro serves as Executive Producer (as does original creator, William Joyce), you can also sense Steven Spielberg's influence. That's not a bad combination for some family entertainment. Dreamworks Animation / PDI have been doing really well these last few years in establishing their identity and breaking away from the typical in-jokes that peppered the likes of Shrek and Madagascar (and hopefully, those are really done and over with). You know you're not watching something from Disney or Pixar. This is a world I would love to revisit.
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Stars Daniel Craig, Javier Bardem, Naomie Harris, Bérénice Lee Marlohe, Ben Whishaw, Rory Kinnear with Ralph Fiennes, Albert Finney and Judi Dench Directed by Sam Mendes James Bond returns to the big screen just in time to celebrate 50 years of cinematic Bond. And this is not quite what you'd expect from a Bond movie and it is quite unlike any Bond movie. As the official press release puts it — "Bond's loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost." So, yes, the themes of loyalty and betrayal are core to the main plot that focusses on M. Being the boss of a major spy network means you have to play with lives, something that was actually brought up during Pierce Brosnan's first run as Bond, where she informs him that she has no problem sending him to his death if need be. The movie is very plot driven, which informs the action, giving the movie a very tense and taut through-line from the opening scene right up to the end. The balance, however, leaves something to be desired given director Sam Mendes' decision for long shots. In some places it works really well - a fist-fight sequence in silhouette being one and Javier Bardem's entrance as Silva, delivering a chilling monologue, being another. From a technical point of view, this is one of the more gorgeous looking Bond movies I can remember, thanks to Roger Deakins' cinematography. Also noted was Stuart Baird returning as editor. He edited Casino Royale but passed on Quantum of Solace. Then there's Thomas Newman doing the score, taking over from David Arnold. Newman does his best to evoke shades of John Barry while bringing something fresh. The score itself plays around with the main theme for the longest time, giving in to it completely at the best moment possible. Daniel Craig is more… 'flinty' than ever, giving a whole different edge to Bond this time around. This is a more seasoned Bond from the last two movies and there is acknowledgement that years have passed since we last saw Bond. And the years have taken some toll, much like what Brosnan tried to inject (to a lesser extent) into 'The World Is Not Enough'. Judi Dench also has more to do this time around, what with M being central to the main plot (see also, 'The World Is Not Enough'). Naomie Harris may be helping Bond out on the mission, but she's not your typical Bond Girl while Bérénice Lee Marlohe would more likely fit that role. Ralph Fiennes looks to be hanging around for a while as the minister, Gareth Mallory, a minister similar to the one in 'For Your Eyes Only'. Ben Whishaw is introduced as the new Q, and he does quite well, making the character quite different from the great Desmond Lewellyn, and memorably cool enough that you want him to return as much as Bond. Albert Finney also turns up late in the movie, closing the gap between Bond and Bourne (apples and oranges, people). His characters is rather intriguing. But it's Javier Bardem who steals the movie completely as you might expect. His Silva is a villain unlike any other that Bond has faced (not really - some fans might draw a parallel to another previous not-too-distant villain or two), His initial confrontation with Bond might be overly loaded with subtext at one point (and I sure heard some comments from audience members, speculating on Silva at that moment). Bardem scores well on this one, bringing it quite close to his performance in No Country For Old Men even if it's not the same character in any way. The intensity of his performance does make Craig look rather like small potatoes. I was a little disappointed with the opening credits tho. They are usually thematic to the plot or concept of the movie, but this time, they just seemed to take some visual cues throughout the movie and played along with it. In a unique bit tho, I think this is the first time that cast members (aside from Bond) are featured in the opening credits. The lyrics to Adele's theme song also hint to what's coming in the movie. In a general sense, this is a worthy 50th anniversary presentation of a James Bond movie and in very much the same way Casino Royale reestablished Bond for the new generation, this one sort of returns it to the original status quo in a unique way. Certain elements that fans have missed when Craig was introduced are put in their places, making this a kick-off point for the next few movies (confirmed two more with Craig) and the words "James Bond will return" popping up at the end of the movie have never been more apt. Just a few more thoughts tho…. . . . . In a rather SPOILERiffic fashion… . . . So, you might want to avoid the following until after you've seen the movie… . . . Which I do hope you will come back to, should you decide not to proceed… . . . . . So, here we go… . . . (yeah - that's enough space and warning) As mentioned earlier, this isn't quite a typical Bond movie in that there really isn't a villain who's out for world domination or actual terrorism. From the trailer itself, the focus really is on M and her past, her actions and her decisions, and how they affect her agents. She is told to 'Think On Your Sins'. Even Bond isn't immune to that, but that IS typical of what a proper boss should do, right? To make the hard decisions, to make the hard calls and just how much faith and trust can you put into your field operatives. The parallels between Bond and Silva are significant to the plot, hence, Bond's loyalty to M being tested, because of those decisions M has to make, for good or ill. In pushing the plot in this direction, the mission becomes M herself, hence giving Judi Dench more screen time than before. It is also noted within the story that time has passed between Quantum of Solace and Skyfall, especially where Bond and M are concerned. The minister, Mallory (Fiennes), even remarks that Bond isn't young anymore, and the age gap between Bond and Q underscores that it is, as Bond puts it, "A brave new world." The relevance of Bond in this day and age has been an issue throughout the last few movies, probably since Timothy Dalton's tenure. The Russians were not longer around, so the villains have been caricatures (drug dealers, media mogul, oil baroness, philanthropic figure, mega corporations), but in this day and post 9-11 age, the villains - as M puts it - don't belong to any nation or country, and they operate in the shadows, where Bond and other agents operate. Even Q is made relevant while dissing the gadgets of old. "Exploding pens? We don't do that anymore," he says. Q is very much a techno-geek, claiming that with a computer, he can do in a week what Bond would take much longer to do. And Bond's place in this brave new world? "Sometimes, a trigger needs to be pulled," says Q. So, Skyfall takes it upon itself to make Bond relevant in this world, especially by the end of the movie. As mentioned, other elements that made Bond great in the early years are put into place as well. The relationship between Bond and Q being one of them, the working relationship between Bond and M being another, as are a few more bits. The status quo is established, kicking off the next era of Bond films. |
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